Mike
I am not trying to be difficult but I find a lot of times even the rights
holders are confused. For Example Kultur does the Eisenstein titles and I
do not know if Corinth which owns the rights for THESE versions has
licenced them. In many cases the term is used a little too easily. I
honestly believe that on any COPYRIGHTED film, it is a problem to deal with
anyone on PPR but the direct distributor. Questions about just what the PPR
includes ( Closed circuit for campus, off premise etc) can only be answered
by the company with the contract.
I know of at least one company that resells are stuff at a very high price
which leads the purchaser to think they are getting PPR which of course
they are not.
On PD titles, that issue is kind of mess. Under GATT many previously PD titles
are being retroactivally copyrighted. This is gonna screw up a number of
titles people had every right to think were PD ( this will not bother
American films).
Also I have had people assume that since many of Kino's silents are PD, our
tapes are as well. They are not as we get "special contents" copyright on
OUR VERSIONS of these titles ( we put a lot of money in these).

All I am trying to say is that PPR is COMPLICATED. There is no one stop
shopping or easy answers. IF you are looking for FEATURE films to program
you can either get umbrella licences and even then you need to be VERY
CAREFUL as MPLC has a charming way of making you believe it covers many
titles it does not. You can licence title by title so long as you are
flexible since not all films can be licenced for PPR under ANY
CIRCUMSTANCES.

I emphasize that all the above applies to FEATURE FILMS. I know very
little about educational and other non feature materials.